Description & Technical information

Herbin was one of the first to follow Picasso and Braque whom he met in 1909. Indeed, he exhibited in 1910 Cubist works that would soon tend  to a bold formal purification. In 1919, Herbin met Léonce Rosenberg, founder of the Galerie de l'Effort Moderne, with whom he was under
contract and who organized various personal exhibitions. Towards the poor resonance his practically abstract works found alongside a refractory critic and public, Herbin returned to a figurative painting of still lifes and landscapes captured where he was staying: Monthier-Haute-Pierre, Cassis, Céret, Sisteron, Le Cateau or Vaison-la-Romaine.

Marked like many artists during the a erwar period, by the syndrome of the "return to order" which lasted from 1922
to 1926, the painter developed a style nourished by Cézanne and Van Gog hat first, then a figurative art that intends to assimilate reality by a precise cutting of the contours and a simplification of the perspective, close to the Purist researches.

"Chêne-liège à  Vaison-la-Romaine", executed during Herbin’s figurative period in 1924, demonstrates those aesthetic experimentations. To the typical Cezannian
tones - ocher, blue, green - the artist adds Cubist reminiscence, transcribing this Vaucluse village into a juxtaposition of small cubes.

Date:  1924
Period:  20th century
Origin:  France
Medium: Oil on canvas
Dimensions: 100 x 72.5 cm (39³/₈ x 28¹/₂ inches)
Provenance: L'Effort Moderne Gallery, Léonce Rosenberg, Paris, n°715.
Galerie des Etats-Unis, Serge Stoliar, Cannes.

Literature: Bulletin de l'Effort Moderne, Léonce Rosenberg, n°18, October 1925, illustrated.
Herbin: Catalogue Raisonné de l'oeuvre peint, Geneviève Claisse, Grand Pont, Lausanne - La Bibliothèque des Arts, Paris, 1993, illustrated under the

Categories: Paintings, Drawings & Prints